ATS
4.18
Shiny happy people
Transcribed by:
CariCranberry
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WESLEY (V.O.)
Previously on Angel:
1 INT. CONNOR'S
PLACE - NIGHT
Connor and Cordelia are in bed together, making love. Lying on top of Cordelia,
Connor kisses her tenderly amid gentle undulations under the sheets.
Cut to:
2 INT. CORDELIA'S
ROOM AT HOTEL / ANGEL INVESTIGATIONS
Cordelia shows her very pregnant belly to Connor.
CORDELIA
Connor, we're having a baby.
Cut to:
3 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
The Fang Gang discuss Cordy in the lobby.
ANGEL
We don't know if it's really Cordy.
FRED
Or what she's got baking in her oven.
GUNN
Evil and pregnant? I'm guessing it ain't cookies.
Cut to:
4 INT. BASEMENT AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Angel and team are confronting Cordelia. Fred and Wesley are pointing guns at
Cordelia.
CORDELIA
Took you long enough to figure it out.
Connor jumps through the glass roof, landing near Angel and Cordelia.
ANGEL
Connor, wait!
Angel reaches for Connor, but Connor just pushes him away hard, throwing Angel into Wesley. Fred aims her tranq gun at Connor, but Connor grabs her hand, redirecting the dart toward Angel as he tries to stand.
CONNOR
(reaches his hand to Cordelia) Come on! (Cordelia takes his hand)
Cut to:
5 INT. WAREHOUSE
SOMEWHERE IN LOS ANGELES - NIGHT
Connor listens while Cordelia talks to him.
CORDELIA
Maybe there's another way. A way to bring our baby into the world now.
CONNOR
How?
CORDELIA
I'll need some very special things.
Cut to:
6 INT. WAREHOUSE
SOMEWHERE IN LOS ANGELES - NIGHT
Connor grabs the virgin girl by her bound hands and drags her crying into the
other room. Connor puts virgin girl on the ground in the center of the circle
where Cordelia was chanting before. The girl looks up to see Cordelia swinging a
huge butcher's knife at her head. Connor just stands there, watching Cordelia
murder this girl, listening to the sounds of blood spattering as Cordelia makes
the killing blow. The girl collapses in the middle of the circle.
Cut to:
7 INT. WAREHOUSE
SOMEWHERE IN LOS ANGELES - NIGHT
Cordelia is screaming in pain as Connor attends to her. The building is still
shaking.
CORDELIA
It's coming. (laughs) The beginning of a new world.
ANGEL
She lied to you, Connor.
Angel takes his sword and walks up to Cordelia, who doesn't move. She grunts in pain, glaring at Angel. Angel rears back the sword.
ANGEL
I'm so sorry.
Connor gets up and tries to go after Angel again, but instead Cordelia screams and a bright green-white column of light shoots up from her body in a blast of energy. Angel and Connor are both knocked back to the walls. The column of light turns into a prismatic sunburst display as the entity within Cordelia leaves her body. In the bright light, something octopus-like with tentacles is moving. Angel sits up and look at it. As the light retracts, the form of the entity becomes more and more human-shaped. Finally, the light is absorbed completely into the entity—it looks like a human woman. Cordelia passes out. Angel stands and charges toward the creature, screaming, but then stops in his tracks.
ANGEL
Oh, my God. (drops to his knees) You're beautiful.
WOMAN
(smiles) Angel.
Fade to black.
8 INT. WAREHOUSE
SOMEWHERE IN LOS ANGELES - NIGHT
Resume. Angel has just knelt at the feet of the woman-like creature Cordelia
gave birth to. The woman bends to pick up a blanket to wrap around her body.
WOMAN
(looks around, smiles) Oh, it's all so—
ANGEL
Unworthy?
WOMAN
(smiling) Wonderful. (kneels beside Cordelia) Cordelia, thank you for protecting
me and nourishing me. Your spirit has been my shelter, but you can rest
peacefully now. I'm here.
CONNOR
That's all she wanted—to give you life.
WOMAN
And I can feel all of it: (smiles) the cold floor, the air, (stands) this skin.
Everything is perfect.
ANGEL
(frowning, looks up at the woman) No, it's not. I came here to kill you. (hands
her his sword) I should be punished.
WOMAN
(takes the sword) Angel, I can feel your suffering, (raises the sword) but now
that suffering is going to end.
Angel waits with his head hung low for her to execute him, but after a moment he looks up, and she has disappeared.
Fade to black.
Opening credits.
9 INT. HOTEL / ANGEL
INVESTIGATIONS - NIGHT
Fred is obsessively gathering up books from the office floor. Lorne is sitting
on the desk straightening the bankers lamp on it.
FRED
We should've done this a long time ago. I don't know what I was thinking letting
these books be all unorganized.
LORNE
Well, one does tend to let the housekeeping slide during an Apocalyptolite.
(turns on the desk lamp) Hey, honey, all this to-ing and fro-ing is making me
edgy...er.
FRED
(hears a buzzing noise) What's that?
LORNE
Oh, relax. It's just a buzz saw. Nothing to get worked up over. It's Gunn and
Wes down in the basement. They're dismembering that armor-plated demon, Skip.
FRED
Oh, right. Well, there's been an awful lot of dismembering going on in that
basement lately, if you ask me.
LORNE
Well, it's been a busy month.
FRED
God, why'd it have to be her?
LORNE
I think you skipped a groove, darlin'.
FRED
Cordelia. Why couldn't the Beastmaster have chosen some horrible evil awful
person to be its vessel?
LORNE
Wouldn't have been much in the way of camouflage.
FRED
He's been gone so long.
LORNE
Y-you shifted gender pronouns, sweetheart. Not that I'm judging—
FRED
Angel. Do you think he found them?
LORNE
Them being...?
FRED
Connor and Cordy.
LORNE
Well...uh....
FRED
Or maybe he got there too late, and she already had it?
LORNE
And by "it," you must mean—?
FRED
The baby. Or, hell spawn or whatever it is. (Lorne shakes his head and sips his
drink) Skip said the Beastmaster was using Cordelia to give birth to itself.
What if Angel didn't get there in time to stop it? Or, worse, what if he did get
there in time? Do you think he'd actually...you know?
LORNE
Dismember mama? (chuckles nervously)
FRED
Would Angel really kill Cordelia?
LORNE
To save the world?
FRED
(looks out into the lobby) Son of a bitch! (grabs a knife and runs out to the
lobby)
LORNE
(stands) OK, not that I was expecting a transition, but still... (follows Fred
into the lobby)
FRED
(holds the knife at Connor) Drop it, junior.
LORNE
Fred, don't get too close.
CONNOR
(calmly) Drop it? (smiles)
FRED
You heard me. Drop the knife.
CONNOR
But, you're always after me to clean up after myself. I was just gonna put it
away.
FRED
(squints, looks closer at him) Uh, are you still evil-ish? 'Cause I'm confused.
ANGEL
Guys, it's OK. He's with me.
FRED
(sees Cordelia lying on the couch) Oh, my God. (runs to her side) Cordelia.
She's not—
ANGEL
No, she's not dead. She's just resting. She's in a peaceful place.
Wesley and Gunn run into the lobby and join the others.
FRED
No, I meant...she's not pregnant.
ANGEL
Oh. No. Not anymore.
WESLEY
Then you were too late? The thing was born?
LORNE
I'm guessing it wasn't a chubby little cherub, huh?
ANGEL
Not exactly.
GUNN
But you killed it? It's dead, right?
ANGEL
(backs up) I—I tried. I was going to. I just, uh— (sits down on the steps and
weeps)
CONNOR
You got to stop torturing yourself, dad. He was like this all the way back in
the car.
WESLEY
It escaped, then?
ANGEL
Disappeared. Didn't even say goodbye.
FRED
Is that, like, baby evil?
WESLEY
I imagine we're not talking about a baby.
CONNOR
No.
GUNN
OK, so what are we dealing with?
FRED
Eight legs, three heads, horns...?
LORNE
Hey!
FRED
No, offense.
CONNOR
Two legs, one head, no horns.
LORNE
Lemme guess: green?
ANGEL
(stands, smiles) No. Kind of... mocha. We need to find her.
WESLEY
Agreed.
The gang, except for Connor and Angel, head for the weapons cabinet.
GUNN
Hope this thing's easier to kill than the Beast.
CONNOR
(follows them) Kill? No. No killing.
GUNN
Since when?
ANGEL
Since we've all been saved.
FRED
Oh, well, that's, uh, crazy talk.
ANGEL
(to Connor) They don't understand.
CONNOR
No.
ANGEL
We don't want to kill her. (takes the axe away from Wesley) We just want to find
her so we can worship her. That's all.
CONNOR
She's amazing. You'll go nuts.
GUNN
Yeah, that'll definitely help us relate better.
ANGEL
(smiles) When you meet her, you'll understand.
WESLEY
Angel, whatever you're feeling right now, it's some form of enchantment.
ANGEL
(looks wistful) Yeah.
WESLEY
It's a spell. Think. Even before its birth, this thing controlled Cordelia,
caused her to do unspeakable things. It's evil. Remember the Rain of Fire,
permanent midnight, all the horrors done in its name—
WOMAN (O.S.)
Must be rectified.
Everyone in the room turns to look at the woman Cordelia gave birth to. Connor and Angel fall to their knees immediately. Everyone else stares at her in awe.
LORNE
My God.
WOMAN
(smiles) People keep saying that.
Lorne kneels.
FRED
I'm just gonna... (kneels) do this.
Gunn kneels.
WOMAN
For so long, you've all been drowning in the fighting and the pain. I'd like to
help...if you'll have me.
WESLEY
(kneels) Tell us what to do.
Cut to:
10 INT. CORDELIA'S
ROOM AT HOTEL / ANGEL INVESTIGATIONS - NIGHT
The gang is gathered in Cordelia's room where Cordelia is now laid out on her
bed. Gunn and Fred are lighting candles. The group is arranged in a loose circle
as they all stare at the woman, smiling.
LORNE
Eternal bliss. It suits her.
FRED
Cordelia must be so happy...to be the one who brought you here. What an honor.
WOMAN
(sitting on the bed beside Cordelia) I'm the one who's honored...by Cordelia,
and by all of you. I can't tell you how good it is to be back.
WESLEY
Back? Then you've been here before?
WOMAN
Yes. In the beginning, before the time of man, great beings walked the earth.
Untold power emanated from all quarters—the seeds of what would come to be known
as good and evil. But the shadows stretched and became darkness, and the
malevolent among us grew stronger. The earth became a demon realm. Those of us
who had the will to resist left this place, but we remained ever-watchful.
GUNN
You're a power that... was?
WOMAN
But then something new emerged from deep inside the earth—neither demon, nor
God.
WESLEY
Man.
WOMAN
And it seemed, for a time, that through this new race, a balance might be
restored.
FRED
Guess we really let you down.
WOMAN
But you didn't. It was we who failed you. (stands) We became little more than
observers. I could no longer bear to just watch all the suffering. I had to find
a way back. But, first I needed a miracle. And so I arranged one. (touches
Connor's face) Through you, Angel, through Darla. That is where my parentage
began. Two vampires—creatures one human corrupted by darkness. And you with a
soul—a miracle already.
ANGEL
But how?
WOMAN
Through Lorne.
LORNE
Huh?
WOMAN
The day Lorne sent Angel and human Darla into the trials to earn a new chance at
life.
ANGEL
I failed.
WOMAN
No, you earned that life. And there it is. (points to Connor) All these events
unfolded that I might reenter this physical plain. I know there's been chaos.
WESLEY
All the events we've witnesses these past months, all the madness, it was birth
pains.
WOMAN
But the storm has passed.
LORNE
And here comes the sun.
ANGEL
And Cordelia—will she wake up?
WOMAN
If we take hold of the world, strip away the thorns, win the battle—then, yes, I
think she will.
FRED
How do we do that?
WOMAN
One evil at a time. Much damage has been done in my name. There are demons,
forces of hate, all over this city.
FRED
We're going to destroy them.
WOMAN
We're going to change the world.
ANGEL
Finally.
Cut to:
11 INT. BOWLING
ALLEY - NIGHT
A middle-aged balding vampire holds up a severed human head and throws it down a
bowling lane as if it were his bowling ball. The head doesn't roll very well,
and stops short of knocking over his pins.
BOWLING VAMPIRE 1
(sighs) Aw, that ain't gonna work.
BOWLING VAMPIRE 2
Could've told you that. Clean up my lane, jackass. (pushes the other vampire
down the lane)
BOWLING VAMPIRE 1
(picks up the head, walks back to the front of the lane) "Let's go to L. A.,"
you said. "Sun's gone out," you said. "Going to be the feast of the century."
But the sun is back, and here we are wasting our time...bowling.
BOWLING VAMPIRE 2
I'm telling you, something big is coming, and when it gets here, we're gonna be
in prime position for—
ANGEL
An ass whoppin'?
Angel and gang are poised and ready to attack the two vampires and the group of other vampires with them at their lane. Angel, Gunn, Wesley, Connor, Fred and the woman are there. The men all engage the vampires in a fight, but Fred protects the woman, staying at her side through the fighting.
WOMAN
(walks past the fighting men, talks to Fred) Sit with me.
FRED
Do you think we should?
WOMAN
I have nothing to fear. (they sit)
FRED
OK.
WOMAN
No, what're we going to call me?
FRED
You don't have a name!
WOMAN
No.
FRED
You should have a name.
WOMAN
Yes.
FRED
I don't know. I can't imagine one word, you know, summing you up. I mean, you're
a superior being. Shouldn't you— Don't you want to choose it yourself?
WOMAN
No one born to this earth can choose their own name. They are named by those who
love them. There are some rules even I must follow.
While the woman and Fred chat, a vampire attacks the woman, slicing her arm with his fingernails. Angel grabs the vampire and pulls him off of the woman. Fred gasps at the atrocity.
FRED
(nearly in tears) I'm so sorry. It's all my fault.
WOMAN
I'll be fine. You tried to caution me. I should have listened.
ANGEL
(chases the vampire down an alley, out of the back of the building) Hey! You
hurt her, you scum!
Cut to:
12 EXT. BOWLING
ALLEY - NIGHT
Angel chases the vampire that attacked the woman out of the building, to a cafe
at the side of the bowling alley. The vampire tries to jump over a table, but
lands instead on top of the man sitting at that table, knocking him down and
inadvertently cutting the man with his fingernails. Angel pulls the vampire off
of the man. Connor followed Angel out.
CONNOR
Dad! (throws Angel a stake)
Angel stakes the vampire. The rest of Angel's team follows Angel and gathers outside. The cafe patrons stand, startled at the commotion.
MIDDLE-AGED MAN PATRON
Over there!
ANGEL
It's all right. It's over. You're safe now.
AWED WOMAN PATRON
Wh— wha— (turns, sees woman) aw! (falls to her knees)
Other patrons fall to their knees.
WOMAN
Everyone, please, stand up. If you wish to honor me, honor each other. We are
all one.
Other patrons stand.
MIDDLE-AGED MAN PATRON
(to the woman) You're hurt.
WOMAN
(smiles) I'll be all right. Everything will be all right.
MARGARET
All my life, so empty. That's over now, isn't it?
WOMAN
Yes, Margaret, it's over. I know you. I know you all. I've come here for you to
bring you the gift of peace. You will be freed from the pains you've suffered.
The world will change forever, and you will know the power of my love. The chaos
will fade, and harmony will reign.
The young man that the vampire fell on and scratched grabs a knife from a nearby table and, in tears, stares at the woman.
YOUNG MAN
Monster. It has to die!
The young man lunges at the woman and tries to attack her with the knife, but Angel interferes, pushing the man down and punching him repeatedly in vamp facade.
Fade to black.
13 EXT. BOWLING
ALLEY - NIGHT
Resume. Angel is in vamp facade, pummeling the young man that attacked the
woman, punching him repeatedly in the face.
WOMAN
(touches Angel's shoulder) Angel, that's enough. (Angel's vamp face recedes)
YOUNG MAN
(crying) Don't you see it? (shakes his head) No. (the woman reaches her hand
toward the young man's face) Don't you touch me!
WOMAN
(lays her hand on his face) Poor thing. (to Wesley) Wesley.
WESLEY
I'll call an ambulance. (walks away)
WOMAN
All of you, so loving, so strong. How can I ask you to understand that a man
like this, so full of fear, anger, so along—he will always be alone, but we have
found each other.
The crowd members smile.
Cut to:
14 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Wesley and Gunn are sitting on the steps, polishing their weapons, talking to
the woman.
GUNN
What about... Helen?
WESLEY
Helen.
GUNN
It's got a ring.
WESLEY
Yes, it does. However, something along the lines of... Dianthia or Iphigenia.
GUNN
Those are some long lines.
WESLEY
Or Aristophila, which means—
WOMAN
"Supreme lover of mankind." (smiles) That's lovely.
GUNN
Well, Helen was my grandma's name.
WOMAN
Helen is beautiful as well.
WESLEY
All right. What about—
FRED (O.S.)
Clorox.
They look up to see Fred standing on the stairs holding the woman's shirt in her hands.
GUNN
"Clorox, she bleaches away the hate."
WESLEY
Probably best we avoid brand names.
GUNN
(nods) Mm-hmm.
FRED
No, I—I meant the shirt. (to the woman) know I can get this stain out.
WOMAN
It's not important, Fred.
FRED
No, it is. I can make it good as new again.
WOMAN
There's really no need. It's just a shirt.
FRED
But it's yours. And it was on you, on your holy bodiness. And it's my fault you
were attacked.
WOMAN
(still holding a towel to her wounded arm, stands) Nonsense. There is no fault.
It was a new and vivid experience. To be able to bleed, feel things,
anything—even pain—is a gift. You people take your senses for granted.
FRED
Club soda. (runs out of the room)
GUNN
(chuckles) May as well let her do her thing.
WESLEY
Yes, Fred can be quite single-minded when she is focused on a problem.
GUNN
Yeah.
WOMAN
You love her very much—both of you. Don't you see? You both have the same love.
That should bring you closer together, not drive you apart.
CONNOR
(walks into the room carrying bandages) I'm sorry you were hurt.
WOMAN
Oh. (lifts the towel from her wounded arm) Ah. (sees her arm is completely
healed)
CONNOR
But there was so much blood.
WOMAN
I heal quickly. It must be a benefit of being a former power, I guess. (smiles)
CONNOR
What was wrong with that man? Why did he want to hurt you?
WOMAN
I'm not sure. Some people can't accept change. It scares them, and that fear
becomes hatred, and they take that hatred out on others... (looks toward the
garden door) or sometimes on themselves.
Cut to:
15 EXT. GARDEN AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
The woman walks outside to find Angel leaning against a railing, staring at the
ground.
WOMAN
That fragrance... It's lovely. What is it?
ANGEL
Must be the jasmine.
WOMAN
Oh, night blooming. So beautiful, so lonely...like you.
ANGEL
(looks up at her, then away) I shamed you.
WOMAN
No.
ANGEL
I did. I almost killed that man. I think I would have if—
WOMAN
Angel, you were only trying to protect me. There can be no shame in that.
ANGEL
I don't want to fail you again.
WOMAN
Then don't.
ANGEL
It's not that simple.
WOMAN
Why isn't it?
ANGEL
'Cause...what I'm feeling.
WOMAN
You must let go of your anger towards that poor soul.
ANGEL
No, not anger...happiness. (woman smiles) I'm so happy that you're here.
WOMAN
And that's a problem?
ANGEL
For me, yes. (looks away) If I get too happy, if I allow myself to feel what I'm
feeling, (nearly in tears) Angelus might—
WOMAN
I know. But soon none of that will matter. Evil will be banished by the deeds we
will do, Angel. Even the evil that's inside of you. That too will be gone, and
all that will be left is the beauty.
ANGEL
Eradicate all evil.
WOMAN
Yes.
ANGEL
Is that even possible? We've been fighting for so long. (shakes his head)
WOMAN
I know. I've seen it all. It's why I've come back. (tilts Angel's head up) You
are my general. I have faith in you.
ANGEL
You... have faith in me?
WOMAN
(looks up to the patio where the others have gathered) I have faith in all my
warriors, each and every one of you. You are all up to the task.
Cut to:
16 INT. VARIOUS - NIGHT
| WOMAN (V.O.) | While the woman speaks, show various scenes of what the AI gang is doing. |
| You're not alone anymore. I will be with you everywhere you go. I'll be at your side, | Angel, Connor, Gunn, and Wesley fight bad guys. |
| Fred diligently washes the woman's shirt in the sink, scrubbing hard, making a froth with the soap. | |
| guiding your hands, |
Angel severs some creature's head. |
| giving you strength. With
my help, |
Wesley throws a knife into a creature's body. |
| all things are possible.
|
Fred continues to scrub the woman's shirt; her hands are getting raw. |
| There will be no doubt,
|
Angel throws a stake to Connor who stakes a vampire. |
| no worry, no fear, for you will know you cannot be beaten. | Angel, Connor, Wesley, and Gunn fight bad guys together. |
Cut to:
17 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
A newscaster delivers the news on television as Angel, Connor, Wes, and Gunn
look on.
NEWSCASTER
(on television) After several weeks of sky-rocketing homicide rates, finally
this week a dramatic decrease in southland murders. The Sheriff's Department
spokesman attributes the drop to their new "Tough on Crime" policy instituted
last month—
ANGEL
(turns off the television) Hm. A little "Credit for the Divinity Behind the
Scenes" policy wouldn't suck. (smiles at the woman)
WOMAN
It's not important who gets the credit. What matters is that we're winning.
WESLEY
If we keep going at this rate—
GUNN
L.A.'s gonna be one big, fat no-demon zone. Hello, Garden City.
ANGEL
(to the woman) You never doubted us. Not for a second.
WOMAN
There's no room for doubt, Angel. Only love.
Lorne walks into the lobby.
CONNOR
Hey, we made the news. Dramatic decrease in southland murders this week.
LORNE
Oh, hey, so much for that nagging apocalypse. (to the woman) Hey, uh, speaking
of dramatic, I've got a smidge of surprise for you...upstairs.
WOMAN
Surprises. They're one of my favorite things about being human. (Lorne giggles,
he and the woman leave)
The men stare after her as she leaves.
ANGEL
Isn't she—
CONNOR
Yeah.
GUNN
A miracle.
FRED
(walks into the room) Well, I tried. (holds up a shirt) What do you think?
WESLEY
It looks brand new.
FRED
(cries) It is. I—I bought a new one. (sits)
WESLEY
Even better.
FRED
(crying) I know.
Angel and Wesley go to Fred's side.
ANGEL
What's the matter? She'll love it.
FRED
I know, but she's not here.
GUNN
She's just upstairs.
FRED
Yes, but, (holds the shirt to her chest) when she's not around, (sobs) I hurt.
Cut to:
18 INT. ROOM AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Lorne opens the door to a huge suite that's been decorated and prepared for the
woman.
WOMAN
Oh, Lorne...
LORNE
It's, uh, it's too diva, isn't it? Diva, deity—it's a thin line.
WOMAN
It's lovely. There's that wonderful smell again— (walks up to a vase full of
flowers) jasmine. Oh, really, Lorne. It's more than I could ask for.
LORNE
Oh, well, I'm as tickled as, uh, someone so tickled they're out of similes.
WOMAN
Thank you again, Lorne. (Lorne walks out of the room, but leaves the door open;
Connor paces outside) You're troubled. Come in, Connor. Tell me what's bothering
you.
CONNOR
(enters the room) I— I can't.
WOMAN
Of course you can. You can tell me anything.
CONNOR
Cordelia used to say that to me. It's just—having you here, I finally know why I
was created. For you—to help bring you here.
WOMAN
That and so much more.
CONNOR
But, I don't deserve—I shouldn't be so happy. I've done things. I betrayed my
dad, hurt people...
WOMAN
I know... all of it. I've watched you—not just these past days—but all your life
and before. Connor, you deserve all the happiness I can bring you.
CONNOR
(smiles slightly) Why me?
WOMAN
I needed a unique soul to help create me. Yours. Even before you were born, I
chose you to be my father. And now we're going to transform the world.
CONNOR
But my father—he's the champion.
WOMAN
Everything has its season. It's your time, Connor. Your destiny.
FRED
(walks into the room holding the shirt up and scrutinizing it) Hi, I know it's
not the exact same shirt, but it's pretty close, and I scrubbed the other one
'til my fingers bled, but I couldn't get out the— (looks up at the woman and
sees a horrifying vision of maggot-infested decaying bloody flesh where the
woman's face should be) blood.
Fade to black.
19 INT. ROOM AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Resume. Fred stares in horror at the disgusting face of the woman. Maggots crawl
in and out of the bloody eye-sockets of the woman's rotting face. Fred is frozen
with fear.
WOMAN
Fred? Is something wrong?
FRED
(cries) I—I'm sorry.
CONNOR
I'll get her some water. (stands)
FRED
(gasps, puts her hands out to stop Connor from leaving the room) No, don't. I
mean, I'll be fine.
Gunn, Wesley, and Lorne walk down the hallway toward the woman's room.
GUNN
Sounds like someone's—
The guys walk into the woman's room.
LORNE
What? What's all the booing and hooing, sweet pea?
WESLEY
Fred, there's no reason to cry. She's right there.
FRED
(crying) I—I know. I just started thinking what it would be like if you weren't
here, and I guess I kinda lost it.
WOMAN
I'm not going anywhere, Fred. You can trust in that.
FRED
(closes her eyes) I think I just... (backs herself toward the door) need some
time alone to...you know, count my blessings 'cause there's so many, and it's
good to, um, take stock. (leaves the room crying)
Cut to:
20 INT. CORDELIA'S
ROOM AT HOTEL / ANGEL INVESTIGATIONS - NIGHT
Fred sits on the edge of the bed beside Cordelia's unconscious body.
FRED
Cordelia, it's me. I'm here. Hello? Remember before the big brain suck and Lorne
read you, and it was all scary, headachy pukiness? What if that's all true? Only
worse, 'cause we don't even know to fight back, not even Angel. Cordelia, I wish
you could—
ANGEL (O.S.)
I know what you're thinking.
Fred turns to see Angel standing in the doorway behind her.
FRED
(stands) You do?
ANGEL
(walks into the room) Sometimes, when I look in her eyes, I've seen it too. It's
overwhelming. The lies, the deceit...just melts away. (smiles) Nothing left but
the beauty.
FRED
(looks away) Um...yeah, it's...incredible.
ANGEL
(walks up to Cordelia) I can't believe I almost... Seems like a lifetime ago.
FRED
(shakes her head) It's all so different from what we expected.
ANGEL
Big, hideous evil trying to end the world? (smiles) Nice to be wrong.
FRED
Yeah, and now that she's here, everything just... seems so easy.
ANGEL
I know. Feels like a dream.
FRED
Mm-hmm. But have you noticed how we all just kinda do what she says, don't ask
questions?
ANGEL
Isn't it a relief? Constant questioning—it's finally over.
Fred makes a nervous fake half-smile.
Cut to:
21 INT. HOSPITAL
RECEPTION - NIGHT
Fred goes up to the reception desk at the hospital and talks to the nurse
sitting there.
FRED
Um, hi. Um, yes. I'm looking for a patient—a man. He was brought in Thursday,
named Stover.
NURSE
(looks at Fred) Are you a family member?
FRED
Am I—? Yes. I have a family. I'm a member. (nurse looks at Fred again) He's my
brother. Father. My father's brother.
NURSE
(looking at the computer) I have a Stoller.
FRED
Half-brother. Uncle. Half-uncle. Stoller. That's it. Please, I—I need to know if
he's all right.
NURSE
Dr. Keller treated him.
FRED
Is he still here?
NURSE
He was transferred to— (looks at the computer, surprised) Oh.
Cut to:
22 INT. HOSPITAL
PSYCHIATRIC UNIT - NIGHT
Fred walks into the hall of one floor and up to the door labeled "Psychiatric
Unit". It's locked with an electronic keypad. Fred looks inside and then hides
near the door until someone comes out. Fred sneaks in through the doors before
they lock again. She goes into the room of the young man from the cafe. He's
lying on a bed in a dark back corner of the room.
FRED
John? John Stoller?
YOUNG MAN
(doesn't look toward Fred) Go away.
FRED
John, I have to ask you...Do you have a history of mental— What I mean to ask
is, uh, have you been in this particular ward before?
YOUNG MAN
You mean, am I crazy?
FRED
Well, were you before Thursday?
YOUNG MAN
(tearfully) Leave me alone.
FRED
(walks slowly toward the man) I don't think you're crazy. I think I know what
happened. I think I know what you saw because... I saw it too. The woman you
attacked—
YOUNG MAN
(shakes head) Not a woman.
FRED
Her face—it's horrible, isn't it? Decaying, blood, things living there.
YOUNG MAN
(crying) You did see it?
FRED
Yes.
YOUNG MAN
Did it touch you?
FRED
What?
The young man turns his head to face Fred, revealing that the side that was in shadow has been transformed into a hideous demony color and texture. One half of his face—where the woman touched him—is now gray and wrinkly and bulging, covered with bumps. Even his eye is different now, a silvery black.
YOUNG MAN
(crying) Don't let it touch you.
FRED
(shocked) Sh-sh-she did that to you?
YOUNG MAN
(tries to sit up) Untie me, please. I have to get out of here. I have to finish
it.
FRED
Finish what?
YOUNG MAN
She has to die. We have to kill it.
FRED
We? (nervously) No, I—I—uh, I mean, maybe, but, no...
YOUNG MAN
You said you saw it.
FRED
I did.
YOUNG MAN
You've been called too.
FRED
Called?
YOUNG MAN
Called. To the mission.
FRED
Called. (shakes head) No, I... I don't get called. I'm not the called type. I,
you know, take messages for my boss. He gets called. Called?
YOUNG MAN
It's our duty. Others won't see. (shakes head)
FRED
You're wrong. If what we saw is true, there are people who will understand, who
will help.
YOUNG MAN
(sits up) You've been called.
FRED
No. Like I said, I— (Fred's cell phone rings) OK, that's just eerie. (takes out
phone and looks at it) It's Angel. They're probably wondering where I am.
YOUNG MAN
You have to do it.
FRED
(backs out of the room) I—I have to go. Thank you for your time. I'm sorry to
have disturbed you.
YOUNG MAN
Don't trust her. Don't trust anyone!
Cut to:
23 EXT. GARDEN AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Fred walks back to the hotel, but it's bustling with people. Two girls rush past
her to get inside.
GIRL 1
I've never seen you like this.
GIRL 2
I'm telling you, you have to meet her. Come on.
Cut to:
24 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Fred walks into the lobby of the hotel, and it's full of people—hundreds.
Lorne's having a conversation with some strangers.
LORNE
We are just excited head over teakettle about this entire event. I-I just can't
even believe— (sees Fred) Hey, hey, hey, pumpkin. Where've you been?
FRED
Out. (looks around at all the people) What happened?
LORNE
Oh, she went out for a walk—it was like A Hard Day's Night—everybody followed
her back. Isn't it fabulous. (points to someone else) Oh, hey, hey, hey. (to
Fred) Excuse me, darling.
WESLEY
(to strangers) Can you believe this? (Fred comes up to him) What is it?
FRED
I need you. (pulls Wesley aside) If I told you something—you know, that maybe
you didn't want to know even—you'd trust me, right?
WESLEY
Of course.
FRED
I...went to see that man from the restaurant. The one who—
WESLEY
The attacker? Why?
FRED
That's what I wanted to know—why he would do that. Wesley, he saw something. We
both s-saw something. I needed to know if it was the same something.
WESLEY
And?
FRED
It was. Wesley, I know you're going to find this hard to accept, but—
Gunn looks down and watches Wesley and Fred converse.
WESLEY
Rotting flesh? Really?
FRED
You don't believe me.
WESLEY
If you say you saw it, I believe you.
FRED
(smiles, relieved) He told me not to tell anyone, but I-I knew if I came to you—
WESLEY
You did the right thing.
The woman walks into the room on the balcony. The crowd cheers.
FRED
You'll help me?
WESLEY
Of course I'll help you. Wait here. (walks away)
Fred watches Wesley walk up to Gunn and tell him something. They both stare at her. Wesley continues up the stairs and whispers to Angel, Connor, and the woman. Gunn whispers something to Lorne. Fred watches all this from the lobby floor. She backs herself slowly toward the weapons cabinet and opens it while the others talk about her—she grabs a dagger and a crossbow. Connor and Angel look at her and see Fred arming herself. Fred points the crossbow at the woman, who is flanked by Angel and Connor.
FRED
I'm sorry. (pulls the crossbow trigger)
Fade to black.
25 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Resume. Fred shoots the crossbow at the woman, but Angel jumps in front of her,
taking the arrow in his shoulder. Connor jumps down after Angel, both landing on
the lobby floor. Connor pulls the arrow out of Angel's shoulder and helps him
stand. Wesley rushes downstairs.
LORNE
(walks up to Fred) Fred! Are you crazy? What— I mean— (Fred grabs Lorne and puts
the dagger to his throat) Fred!
FRED
(to Angel, Connor, and Wes) Don't come near me!
ANGEL
Put down the knife, Fred.
FRED
I'll kill him!
GUNN
You don't know what you're doing.
FRED
(yells) I'll kill him, Charles!
LORNE
(to Fred) Easy, kiddo, huh?
WOMAN
There's nowhere you can go, Fred. My love will follow you everywhere.
Fred pushes Lorne forward into the others and rushes out the front door.
LORNE
(angry) Hey!
Angel and the others start to follow Fred, but the woman stops them.
WOMAN
Let her go. Now is not the time. We are all gathered here in peace. Let's not
let her take that away from us.
Cut to:
26 INT. JEEP - DAWN
Fred drives the jeep down the road all night. Finally, when day breaks, she
pulls over to the side of the road, stops the car and sobs.
Cut to:
27 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
The AI gang discusses Fred's behavior.
WESLEY
I can't believe Fred's evil.
GUNN
Should've seen it coming.
LORNE
Nothing like a homicidal maniac to put a damper on an impromptu spiritual
gathering. (shakes his head)
WOMAN
What they saw tonight—it's not what I would have wanted, but now they all
understand the reality of what hatred can do to a person.
ANGEL
(walks into the lobby with a bouquet of jasmine) The reality is...we need to
find Fred.
WOMAN
(takes bouquet) Thank you, Angel. The scent—it soothes me.
ANGEL
We leave now. Connor and I can probably still track her. (Connor and Angel walk
toward the door)
WOMAN
I know you're all in pain. You trusted Fred, and she betrayed you.
GUNN
(stands) Forget us. She tried to kill you.
WOMAN
And the sadness that brings me is immeasurable.
LORNE
I should've just let her cut my head off. My species—decapitation loophole.
CONNOR
Still might've stabbed you, let you bleed to death.
ANGEL
(paces) Why didn't I see it?
WOMAN
Angel, none of us did. You can't blame yourself.
ANGEL
(sits) She was acting weird earlier, and I just thought it was Fred being Fred.
WESLEY
That man at the hospital—I'm still shocked she would go to see him.
GUNN
Once he had her there, (shrugs) must've monkeyed with her brain somehow.
CONNOR
Maybe he made her do it, (shrugs) with magic or something.
WOMAN
I doubt even Fred understands why she's so determined to destroy everything
we're trying to create, which makes her even more dangerous.
ANGEL
We have to kill her. (everyone sighs at the thought) There's no other way.
WESLEY
As long as she's out there, she's a threat.
WOMAN
It may come to that. But first, we have to try to help her. Get to the root of
the hatred that's infected her heart.
ANGEL
The only way to do that is to bring her home. (stands) Let's go.
WOMAN
No. We'll find Fred, but not tonight. Tomorrow will be easier than today. We'll
have eyes everywhere.
Cut to:
28 INT. DINER - DAY
A man hands a plate of two eggs, bacon, and hashbrowns to a woman sitting at the
counter drinking a cup of coffee. It's Fred.
DINER GUY
Here you go. Looks like you just lost your best friend.
FRED
All of them. I never thought—
DINER GUY
Yeah, well, that's life in the big city. (hands her a bill)
TV HOST
Welcome back. Chef Arnold Michske will join us later, but right now, we have the
most amazing surprise. Please join me in welcoming a very special visitor:
Jasmine!
WOMAN / JASMINE
Good morning, Los Angeles. (Fred looks up at the TV when she hears the woman's
voice; the woman, Jasmine, is wearing a sprig of jasmine flowers in her hair)
Thank you for inviting me. This is a special day.
Fred stares at the diner's corner television in shock.
TV HOST
We want to know everything about you. Start at the beginning.
People are coming in off the streets to watch Jasmine on the TV. The people kneel, mesmerized by Jasmine's voice. Fred turns and stare at them in disbelief.
JASMINE
Trish, in the beginning, before the time of man, great beings walked the Earth.
Untold power emanated from all quarters—the seeds of what would come to be known
as good and evil. Yet there was a balance. But the shadow stretched...
While Jasmine speaks on television, Fred stands and walks out of the diner, onto the sidewalk—it's empty. The streets are empty too. No one in the entire city is outside.
Cut to:
Closing credits.